Pieter van Lint Sold at Auction Prices

Tableaux VAN LINT Pieter (1609 - 1690). D'après.

Huile sur panneau renforcé "L'Extase de Sainte Thérèse d'Avila" D'après un modèle de Peter van Lint Anonyme Ecole flamande Epoque: XVIIème (Fissuré) Dim :+/-43x57cm

PIETER VAN LINT - Allegoria del Lavoro premiato dalla Pace e dall'Abbondanza, alla presenza di Minerva e del Tempo

Allegoria del Lavoro premiato dalla Pace e dall'Abbondanza, alla presenza di Minerva e del Tempo Olio su rame, 104x130 cm; opera firmata in basso al centro "P.V.Lint F./en A.B". L'allegoria in oggetto, elaborata come composizione complessa e articolata in cui compaiono anche figure tratte dalla mitologia, è opera di Pieter Van Lint, pittore e disegnatore attivo ad Anversa nella seconda metà del XVII secolo. Lo stile dell'artista è contraddistinto da un realismo meticoloso e un'accurata attenzione ai dettagli e alla resa dei materiali che costituiscono gli oggetti descritti; caratteri che certamente ricorrono nell'opera, così come tipica di van Lint è la tavolozza cromatica composita e accesa, in cui prevalgono colori saturi come il rosso cremisi. L'allegoria può essere confrontata con un altro olio su rame autografo di analogo soggetto messo all'incanto dalle sede londinese di Christie's nel 2010. Alla rarità del dipinto contribuisce il supporto costituito da una grande lamina di rame; materiale ideale per la pittura a olio ma spesso oggetto di successiva fusione. Opera registrata sul catalogo dell'artista del RKD Netherlands Institute for Art History e corredata da perizia della dott.ssa Carlotta Venegoni, qui in parte ripresa, e analisi scientifiche del Laboratorio Thierry Radelet.

Peter van Lint: Die Predigt Johannes des Täufers

LINT, PETER VAN Antwerpen 1609 - 1690 In der Art des Titel: Die Predigt Johannes des Täufers. Technik: Öl auf Holz. Montierung: Parkettiert. Maße: 49,5 x 64,5cm. Nachträglich bezeichnet unten mittig. Rahmen: Rahmen. Provenienz: Privatbesitz, Deutschland. Peter van Lint Flanders Flemish School 17th C. Old Masters Framed Religious Art Painting New Testament Explanations to the Catalogue Estimated shipping costs for this lot: Germany: 77,31 Euro plus 14,69 Euro VAT EU: 100,84 Euro plus 19,16 Euro VAT Worldwide: 159,66 Euro plus 30,34 Euro VAT additional shipping insurance

Lint, Pieter van

Lint, Pieter van 1609 Antwerpen - 1690 Antwerpen Christus am Kreuz. Öl/Holz, 45 x 32,5 cm.

Crucifixion

Pieter van Lint Antwerp 1609 - 1690 Crucifixion signed with initials lower center on plank: P.V.L oil on panel panel: 17 ⅝ by 11 ⅞ in.; 44.8 by 30.2 cm. framed: 22 ¾ by 17 in.; 57.8 by 43.2 cm.

OIL PAINTING BY PIETER VAN LINT 17TH CENTURY

PIETER VAN LINT (Anversa 1609 - 1690) RINALDO E ARMIDA Olio su tela, cm. 138 x 202 Firmato 'P. V. Lint f.', in basso a destra PROVENIENZA Famiglia romana CONDIZIONI DEL DIPINTO Rintelo ottocentesco. Una linea di restauro orizzontale in basso al centro, altre due al lato destro di minore estensione. Il dipinto è in buono stato di conservazione CORNICE Cornice in legno a sezione piatta, dell'inizio del XX secolo

Pieter van Lint : Noah and his three sons

Pieter van Lint Noah and his three sons brown pen, washed, heightened with opaque white; in passe-partout, unframed 35.5 x 55.5 cm monogrammed on the lower right: P.V.l. probably dated illegibly collection Erna Weidinger (1923–2021)

PIETER (PETER) VAN LINT (ANTWERP, 1609-1690): 'SAINT ANNE TRINITY', PEN AND BROWN INK ON PAPER

Dim.: 29 x 22 cm  Monogrammed P.V.L. below the lower right tip of the robe (from the viewer's perspective).  Ref.:- Graphische Sammlung im Städelschen Kunstinstitut, Frankfurt am Main, inv./cat. nr 3297A, for a closely related drawing. (see last image) (link available on rm-auctions.com)

PETER VAN LINT (1609 / 1690) "The Penitent Magdalene"

Bibliography: Díaz Padrón, M. , "La obra de Pierre Van Lint en España", Goya: Revista de arte, nº 145, 1978, p. 6-Díaz Padrón, M., "Nuevas pinturas de satélites de Rubens inéditas o mal atribuidas en colecciones españolas o extranjeras: Van Lint, Van Herp, Th. W. Bosschaert y Van Balen", Archivo española del Arte, nº 241, CSIC, Madrid, 1988, pp. 1- 4, fig. 2 Born and trained in Antwerp, a pupil of Roland Jacobs, he followed Rubens's style, copying many of his works. From 1633 to 1640 he was in Rome, evolving towards a more classicist style, although without losing his Flemish nature. His style was maintained on his return to Antwerp, where he worked for important patrons such as the monarch Christian IV of Denmark. His works were frequently imported into Spain, as is recorded in 17th-century sales records. The Penitent Magdalen" may be considered one of the few documented works by the artist that were sent to Spain and subsequently located. According to Díaz Padrón, this work would be one of the canvases sent by Mathis Musson to Malaga, cited in a letter dated 8 October 1667. In addition to the existing documentation, the style and models coincide with other works by Van Lint, corroborating this attribution. For example, the group of little angels on the left side that van Lint repeats in the "Saint Peter and Paul" in the church of Saint Paul in Antwerp, and which Diaz Padrón used to identify a "Saint Joseph and Child" from the George Weetson Collection (see Diaz Padrón, 1988). Oil on canvas. 110 x 166 cm

ATTRIBUÉ À PETER VAN LINT (1609-1690) - La Visitation

ATTRIBUÉ À PETER VAN LINT (1609-1690) La Visitation Huile sur cuivre. Encadrée. 50,5 x 68 cm

Peter van Lint (1609-1690), Christ and the woman of Samaria at the well, 17thC, 99 x 133 cm

Peter van Lint (1609-1690), Christ and the woman of Samaria at the well, 17thC, 99 x 133 cm No visible signature., attributed to Peter van Lint (1609-1690), Christ and the woman of Samaria at the well, 17thC, oil on canvas, 99 x 133 cm

Lint, Peter van

(1609 Antwerpen 1690) zugeschrieben. Reiterstandbild des Marc Aurel. Anonyme Rötelzeichnung auf Bütten mit WZ (Flagge im Kreis) wohl 17. Jh. Blgr. 22,6 x 20 cm. Ecken abgeschn. Unter Passep. mont. - Leicht fleckig. D

Attributed to Peter van Lint (Antwerp 1609-1690) David rebuked by Nathan

Attributed to Peter van Lint (Antwerp 1609-1690) David rebuked by Nathan oil on copper 87.8 x 105.5cm (34 9/16 x 41 9/16in). For further information on this lot please visit the Bonhams website

VAN LINT PIETER (1609 - 1690) door het grote forma…

VAN LINT PIETER (1609 - 1690) door het grote formaat zeldzamer olieverfschilderij op koper met een bijbelse voorstelling : "Maria op bezoek bij haar nicht Elisabeth" - 69 x 86 volgens expert Paul Verbraeken met grote zekerheid toe te schrijven aan Van Lint English Translation because of the size quite rare 17th Cent. oil on copper : "The visit of Mary to her niece Elisabeth" according to expert Paul Verbraeken this work can be attributed with great certainty to Peter Van Lint

PETER VAN LINT (ANVERS 1609-1690) L'Apollon du Belvedère pierre noire, craie blanche sur papier bleu, filigrane blason 42 x 27,5 cm. (16 ½ x 10 ¾ in.)

PETER VAN LINT (ANVERS 1609-1690) L'Apollon du Belvedère signé 'PVL.D.L. Rom/ 1639' (en bas à gauche) et numéroté '13' (en haut à gauche) pierre noire, craie blanche sur papier bleu, filigrane blason 42 x 27,5 cm. (16 ½ x 10 ¾ in.)

Pieter van Lint (Antwerpen 1609 - Antwerpen 1690), circle of. Bucolic Idyl.

Oil/wood, 53 x 119 cm, some rest., partly cradled. - Provenance: Private collection Berlin. - Flemish history and figure painter. L. was taught painting in the studio of A. Wolffort and in 1633 became member of the Antwerp St. Luke's guild. Until 1641 he lived many years in Rome and shortly in Paris before returning to Antwerp definitively. Mus.: Vienna (Kunsthist. Mus.), Hamburg (Kunsthalle), Stockholm, Genova a. others. Lit.: Thieme-Becker, Bénézit.

attrib. PETER VAN LINT (Belgium, 1609-1690)

Elijah at the well unsigned, o/c (relined), 40.5 by 50 in.; ebonized frame, 47 by 56 in. From a Newtown, Connecticut collection.

TABLEAUX

Huile sur cuivre "L'Adoration des mages". Attribué à Pieter van Lint. Ecole flamande, Anvers. Epoque: XVIIème. Dim.:26,5x36cm.

Attribué à Pieter Van LINT (1609 - 1690)Enée et Pallantée traversant les tentes de leurs ennemis endormis

Attribué à Pieter Van LINT (1609 - 1690) Enée et Pallantée traversant les tentes de leurs ennemis endormis Cuivre parqueté Restaurations anciennes Sans cadre Attributed to Pieter Van Lint, Aeneas and Pallanteus crossing the tents of their sleeping enemies, craddle copper 87,5 x 106 cm - 34 1/2 X 41 3/4 IN. € 5,000-7,000

PETER VAN LINT (ANVERS 1609-1690) Apollon et Marsyas, d’après Rapha‘l monog

PETER VAN LINT (ANVERS 1609-1690) Apollon et Marsyas, d’après Rapha‘l monogramé, daté et localisé ‘PVL. D.L. a Roma/ 1639’ pierre noire, plume et encre brune, lavis brun, mis au carreau à la pierre noire 19,8 x 13,6 cm.

PETER VAN LINT Antwerpen 1609-1690 Studie einer Nonne Schwarze und weisse Kreide auf

PETER VAN LINT Antwerpen 1609-1690 Studie einer Nonne Schwarze und weisse Kreide auf bläulichem Papier, 45,5 x 26,5 cm

PETER VAN LINT | Bacchus, Ceres, Proserpina and Pluto

oil on canvas

ATTRIBUTED TO PETER VAN LINT: "RINALDO & ARMIDA"

oil on copper 27 1/2 x 34 1/2 inches

Lint, Pieter van: Umkreis. Entwurf für ein Kuppelzwickel mit Allegorie der Bildhauerei

Umkreis. Entwurf für ein Kuppelzwickel mit der Allegorie der Bildhauerei. Rötel. 26,7 x 19,8 cm. Wz. Fleur-de-lis im Kreis (Fragment). Unten rechts im Rand bez. "Lebrun".

PETER VAN LINT, (FLEMISH 1609-1690), VIRGIN AND CHILD

PETER VAN LINT (flemish 1609-1690)/span VIRGIN AND CHILD Oil on copper 18 1/2 x 14 1/4 in. (47 x 36.8cm) provenance: /spanPrivate Collection, Philadelphia. note:/span As typified by the present work, Van Lint painted in a classicizing manner, painting not only religious subject matter, but also mythological scenes and portraits. In 1633 he became a master in the Guild of Saint Luke and then travelled to Rome where he was commissioned to decorate the cathedral in Ostia and to fresco the Cibo family chapel in Santa Maria del Popolo. He was also highly regarded as a draftsman, working mainly in chalk. We wish to thank Jan Kosten and Fred G. Meijerof the Rijksbureau Voor Kunthistorische Documentatie for authenticating this painting on the basis of photographs.

Attribué à Peter Van LINT (1609 – 1690) Le Voile de sainte Véronique Cuivre 32 x 41 cm

Attribué à Peter Van LINT (1609 – 1690) Le Voile de sainte Véronique Cuivre 32 x 41 cm

Pieter Van LINT (Anvers 1609-1690) La tentation

Pieter Van LINT (Anvers 1609-1690) La tentation d'Adam et Eve, d'après Raphaël Plume et encre brune, lavis brun sur traits de crayon noir 19 x 12,7 cm Monogrammé et daté en bas au centre: «à Roma...

Attribué à Pieter van LINT (1609 - 1690) Marie-Madeleine Panneau de chêne, quatre planches, non parqueté 99 x 76 cm

Attribué à Pieter van LINT (1609 - 1690) Marie-Madeleine Panneau de chêne, quatre planches, non parqueté 99 x 76 cm

Pieter van Lint (Antwerp 1609-1690)

Pieter van Lint (Antwerp 1609-1690) Apollo and Daphne; and An Allegory with Labour being rewarded by Abundance and Peace, witnessed by Minerva and Time the first indistinctly signed (?) 'P[ieter] van Li[nt] F good' (on the reverse); the second indistinctly signed (?) 'P. van Lint fecit good' (on the reverse) oil on copper 26 7/8 x 34 1/8 in. (68.3 x 86.6 cm.) a pair (2)

Peter van LINT Anvers, 1609 - 1690 Les quatre saisons Huile sur plaque de métal

Peter van LINT Anvers, 1609 - 1690 Les quatre saisons Huile sur plaque de métal Traces de monogramme 'P....' en bas au centre (Accidents) h: 105 w: 131 cm

PIETER VAN LINT 1609 - 1690 Antwerp School THE

PIETER VAN LINT 1609 - 1690 Antwerp School THE CIRCUMCISION Oil painting on copper 71 x 87,5 cm

Artémise portant les cendres du roi Mausole

PIETER VAN LINT (ANVERS 1609-1690) Artémise portant les cendres du roi Mausole signé avec initiales 'P.V.L.' (au centre à droite) Huile sur panneau, non encadré 34,7 x 24,2 cm. (13 5/8 x 9½ in.)

Studio of Peter van Lint , Antwerp 1609 - 1690 Christ healing the sick at Bethesda oil on canvas

oil on canvas

Attribué à Peter van LINT Anvers, 1609 - 1690 DEUX FIGURES PREPARANT UN SUPPLICE Pierre noire et rehauts de craie blanche sur papier...

f - PETER VAN LINT ANTWERP 1609 - 1690

THE FARNESE HERCULES measurements note 426 by 265mm signed with monogram, inscribed and dated in brown ink, lower centre: PVL.D.L. a Roma 1639 numbered in black chalk, upper centre: 24 black chalk heightened with white chalk on blue paper NOTE Pieter van Lint left Antwerp for Italy at some point after 1633, and during his seven year stay made numerous drawn copies after the works he saw there, both antique and renaissance. The Farnese Hercules was one of the works most frequently drawn, and indeed, van Lint made two other studies of the sculpture: one is in the National Gallery of Scotland, Edinburgh (see K. Andrews, Catalogue of Netherlandish Drawings, Edinburgh 1985, vol. I, p. 47, reproduced vol. II, fig. 313), and the second in the Lugt Collection (see Flemish Drawings of the Seventeenth Century: from the collection of Frits Lugt, Institut Néerlandais, Paris, exhibition catalogue, London, Victoria & Albert Museum, et al, 1972, pp. 65-66, cat. no. 48, reproduced plate 84). All three studies are dated 1639, drawn in the same media, and monogrammed and inscribed in an identical manner to the present sheet. Each sheet is, however, drawn from a different angle, so that they add up to a total impression of the sculpture in three dimensions. Van Lint would have studied the Hercules in the Palazzo Farnese, Rome, where it was sited under an archway in the Cortile, the same location where Goltzius had drawn it in 1591. Van Lint's copy is, in most respects, very faithful to the sculpture; only the slight elongation of the legs reveals that his viewpoint was somewhat underneath the Hercules.

PIETER VAN LINT ANTWERP 1609 - 1690

oil on copper CHRIST AND THE ADULTEROUS WOMAN